Ace in the Hole

Unequivocally, Billy Wilder is one of the best writer-directors ever. His films not only entertained audiences but also provided incisive social commentary, as well as profound character studies. Known for his sharp wit, clever dialogue and ability to seamlessly traverse genres, he left an indelible mark on cinema. From 'Double Indemnity' and 'Sunset Boulevard', to 'Stalag 17', Wilder crafted stories that were both engaging and thought-provoking.

'Ace in the Hole' may be one of his best. A satirical noir, it follows journalist Charles Tatum, a jaded reporter with a tarnished career who lands a job at a small New Mexico newspaper. When he stumbles upon Leo, a man trapped in a cave while searching for Native American treasures, Tatum seizes the chance to revive his career by turning the rescue effort into a media circus. As Leo's situation becomes increasingly dire, the film explores themes of media sensationalism, ethical compromise and the human cost of ambition.

It is a seedy, beautifully written film, resonating on multiple levels. Wilder's screenplay- written alongside Lesser Samuels and Walter Newman- captures the essence of opportunism and moral decay in the face of disaster. Their narrative's stark portrayal of human frailty and the ethical compromises made for personal gain creates a gripping narrative that holds a mirror to society's darker inclinations. The characters are meticulously crafted, each representing a facet of moral ambiguity and the lengths people will go to in order to seize their moment of glory.

The protagonist, Tatum, is a complex anti-hero whose cynicism and ambition drive the story. His moral descent and eventual realization of his own corruption are emblematic of the film noir tradition. Meanwhile, Leo Minosa, the trapped man, is the innocent victim caught in the crossfire of media exploitation, his deteriorating condition highlighting the human cost of sensationalism.

Lorraine, Leo's wife, is opportunistically self-serving, her relationship with Tatum further emphasizing the film's theme of moral ambiguity. Moreover, the corrupt local sheriff, seeking re-election, becomes complicit in Tatum's schemes, illustrating the intersection of media manipulation and political ambition. Throughout, he plays with a rattlesnake in a box, teasing it, feeding it; keeping it alive for his own ends, like Tatum keeps Leo trapped in the cave.

Practically everyone in the picture seeks to gain by exploiting the trapped man's predicament. The film can thus be seen as a commentary on the commodification of tragedy, showcasing how jackals and vultures benefit from others' suffering. Moreover, the public's reaction to the cave-in is akin to attending a travelling carnival, satirizing the international obsession with real-life drama.

The area surrounding the cave literally becomes a circus, with Ferris-wheels turning and musicians singing, as Leo wastes away under the rubble. It is a spectacle of populist exploitation. In a modern context, mirroring our fascination with reality TV and docuseries. The reaction to Leo's plight in Wilder's film parallels the public's response to Netflix series like 'Making A Murderer' or 'Tiger King'. Whereas nowadays one can buy Joe Exotic t-shirts and tote-bags, in Leo's case one gathers outside his tomb with a hamburger and a coffee, like a scavenger awaiting scraps of carrion; awash in a voyeuristic frenzy, delighting in the extravaganza of someone else's despair.

Moreover, the dialogue is filled with deliciously pulpy lines like "I don't go to Church. Kneeling bags my nylons," crackling with noiresque cynicism. This sharp, biting wit is a hallmark of film noir, and the screenplay is peppered with memorable lines, reflecting the characters' jaded worldviews. The dialogue not only serves to entertain but also deepens Wilder's characterization, while enhancing the satirical tone.

On the technical front, Charles Lang's artful cinematography makes efficacious use of stark, high-contrasting lighting, while his utilization of shadows and confined spaces heightens the film's tension. He generates a palpable sense of entrapment through his dynamic camera movements and tight framing, conveying the claustrophobic atmosphere within the cave. This is juxtaposed with the bustling chaos of the circus above ground, creating a powerful contrast and enhancing the overall impact of the film. Lang's cinematography not only compounds the visual appeal of the film but also reinforces its thematic depth and emotional resonance.

In addition, Hugo Friedhofer's score heightens the dramatic tension, underscoring the emotional beats of the narrative. Ambient sounds of the carnival and the increasingly frantic rescue efforts add to the immersive experience, while highlighting the absurdity of the situation. Further, the set decoration and production design are meticulously detailed, grounding the narrative in a palpable reality.

Moreover, Edith Head's costume design plays a crucial role in defining the characters and their motivations. Tatum's routinely dishevelled appearance reflects his moral decay, while Lorraine's flashy, attention-seeking outfits symbolize her opportunistic nature. The sheriff's uniform exudes a false sense of integrity, masking his complicity in the exploitation of the tragedy. These visual details contribute to the film's overall critique of the human cost of ambition and media sensationalism.

Kirk Douglas stars as Tatum, delivering a powerful performance that ranks alongside his very best. Intense and charismatic, he perfectly captures Tatum's ambition and moral decline. Reminiscent of his frequent co-star Burt Lancaster's stellar performance as the eponymous 'Elmer Gantry': Douglas is unsettlingly captivating. His nuanced work ensures that Tatum remains a compelling, albeit deeply flawed, protagonist.

Jan Sterling is similarly good as the femme fatal Lorraine, a gusty broad with dreams of dollars. Sterling brings a blend of opportunism and vulnerability to the role, captivating Lorraine's survivalist instincts with aplomb. Her interactions with Douglas's Tatum are charged with tension and chemistry, highlighting the moral ambiguity and motivations of both characters.

In addition, Robert Arthur brings a believable naivety to the role of Cook, Tatum's accomplice. Ray Teal, as the corrupt Sheriff, captures the essence of a man willing to compromise his ethics for political gain, while Porter Hall does fine work as Tatum's editor, whose morality contrasts sharply with his subordinate's reckless ambition. All the rest- from Richard Benedict as Leo to Frank Cady as visitor to the site of despair- cannot be faulted.

In conclusion, 'Ace in the Hole' stands as one of Billy Wilder's most incisive works. Its biting satire and noir sensibilities offer a scathing critique of media sensationalism and the moral compromises made in the pursuit of fame and fortune. The film's expertly crafted narrative, coupled with strong performances, sharp dialogue and technical prowess, make it a compelling piece of cinema. In short, 'Ace in the Hole' is a winning hand.

There are some films that when you see them you ask why they aren't available to rent or own. This is one of them. I had the fortune of seeing this hidden gem on the big screen and was pleasantly surprised.

With Kirk Douglas playing a Reporter whose been around the block, always looking for a shortcut, comes across an opportunity to exploit a man caught in a mine shaft. I have read where critics had considered the circus atmosphere of the the film unrealistic. It seems Mr. Wilder got the last laugh. If you are interesting in great dialogue and good story telling, I suggest you find this

Saw this films years ago and it's still gripping.Mr.Wilder seldom did films that gripped the human condition like this one.After this movie flopped he stuck to screen adaptions of stage hits through most of the fifties.Both director and star,Kirk Douglas really delivered a stinging expose of media hype and manipulation of the newspaper business.Herein,burned out reporter Douglas chances on a man trapped in a cave and ruthlessly exploits it for his own gain.There's no softness here,even the leading lady (played wonderfully by Jan Sterling)is as hard as Douglas.The scenes of all the gawkers showing up,complete with carnival,are outright creepy.There's even a cheesy country western singer plunking a guitar and singing about poor Leo,(the trapped man.) The only sympathetic person is poor Leo's mom who continually prays for his release.Definitely a film for lovers of great movie drama.

This is a movie I have loved since the first time I saw it as a child. Kirk Douglas plays the lead role in "The Big Carnival", or "Ace in the Hole" as it was originally titled. As down and out former ace newspaper reporter Chuck Tatum, he finds himself broke in the southwest and manages to talk himself into a reporting job with a small town newspaper. He and a cub photographer are sent to cover a snake hunt and on the way they come across a more interesting story. A man hunting Navaho artifacts got caught in a cave in.

Tatum, after visiting the man, Leo Minoso in the cave, has visions of Floyd Collins and a Pulitzer prize dancing in his head. Through blackmail and manipulation of the story, Tatum sells his soul and his journalistic ethics in his quest for a chance at the big time again.

This movie was ahead of it's time in estimating how low the media would go to sell a story. Tatum leads the carnival of onlookers, vendors and other reporters wanting a piece of the story until the inevitable tragic ending occurs. He realizes too late how he has turned a simple event into a tragedy and become part of the story instead of a reporter. Kirk Douglas turns in a powerful performance.

Of the many movies I viewed in the early 50's, so many ,like now, were here today, forgotten tomorrow. However some movies that became memorable and that were able to make a dramatic impact on this young guy include, Duel in the Sun and Gone with the Wind. Strangely enough, Ace in the Hole is the most memorable of all movies viewed. It is one that invades the mind and leaves one sad.

Few films I remember as vividly as this dark movie, the images linger to haunt me still. 'Why?' one might ask 'would a sombre movie like this made over 50 years ago remain so memorable, when so many others have vanished. Was it the surreal inhumanity of the plot, the repugnant newsman devoid of ethics, the exploitation of the trapped victim, the purposeful prolonging of the victim's entrapment to create a media frenzy, the ultimate commercial creation of an 'event' style attraction complete with a circus like atmosphere surrounding the cave while the victim remained entrapped and close to death.'

Supposedly based on a real incident, it's a tough movie to watch and more so if one is prepared to accept the premise that such inhumanity displayed in the movie has an element of truth.

I echo the desires of others to have the availability of this movie on VHS or DVD. In the interim my memory will continue to keep the images intact. See it if you can.